Performed 11, 17, 20, 21 March 2012
The Australian Chamber Orchestra’s first concert of 2012, “Chopin and Medelsohn’s Octet”, continues the now well-established tradition of programmatic diversity that director Richard Tognetti has cultivated during his tenure. The E minor Piano Concerto of Chopin, performed by Ruski Polina Leschenko, was undeniably the highlight of the concert. From the piano’s entry, dramatic enough in the writing, Leschenko’s sound had a certain subtlety one would think misplaced within a Romantic concert. However it is this quality that lends her playing so much to the work. At no point did the pianist sacrifice musicianship for showmanship, and there is ample opportunity within the work to do so. Perfect phrasing coupled with a truly effortless technique was deployed throughout. The solos from within the orchestra, subtly interjected, highlighted Chopin’s gift for endless melodic invention.
Medelssohn’s Octet, a favourite of the orchestra, rounded off the program. The virility and élan of the work is perfectly suited to the ACO, as proven by past performances and their recording of the work, one of the finest on offer. However, this rendition was lacking. Tognetti’s idiosyncrasies, once exciting and unique, now seem to have become a caricature of themselves. The formidable individual talent of the ACO was evident, but ensemble-wise it was not what audiences have come to expect from this group.
This sense of playing to reputation also seemed to provide the impetus for the first two works of the concert, Ennio Morricone’s “Exercise No. I” and Tognetti’s own arrangement of two Paganini caprices. Ostentatious displays seemed to take precedent over musical substance.
For devotees accustomed to flawless performances, the ACO seems more variable with each year. This is usually assuaged with an outstanding annual centrepiece, such as the Brahms I in 2010. Here’s hoping we can expect more of these throughout the year.
This article was originally published in Conversation Issue 1, of 30 April 2012, published by the Conservatorium Students' Association. The print edition can be found on Issuu; it has been digitised by Alexander Poirier.
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